«Daisy, Give me your answer do, I’m a half crazy, all for the love of you.»

Abstract

Screens have invaded the world we live in. They have multiplied in a double direction: while they have become bigger, wider and deeper, they have also become smaller and mobile. And in this transformation they have changed the relationship established between the eye and the surface, including a new element in the equation: touch. This brings about a new way of relating to the interface that leads to limitless information, in which framing is a simple exercise of the fingers. The relationship between man and machine has been a continuous inspiration in the history of film; therefore, this article presents an analysis of the evolution of the concept of screens in six masterpieces of science fiction. Starting with what may be considered the inaugural work of the genre, 2001: A Space Odyssey (Stanley Kubrick, 1968), after which comes the legendary Blade Runner (Ridley Scott, 1982), Matrix (Andy and Larry Wachowski, 1998) and Minority Report (Steven Spielberg, 2002). Finally, the analysis ends with Avatar (James Cameron, 2009) and Inception (Christopher Nolan, 2010) where screens certainly disappear, looking for their invisibility, while instilling the viewer in stereoscopic three-dimensions.